Photo: Ben Mergelsberg
At the beginning of the piece, the viewer is visitor. The dancers, bare, totally exposed, right in the centre, while the stands around them, arranged on the four sides.
It is an invitation to an ” anatomical theatre “, as he called himself, ” to enter in a strange clinic “, that launches the choreographer German-Swedish Jefta Van Dinther with Dark Field Analysis. “Darkfield microscopy” in French : an analysis under the microscope a drop of blood, still alive, all bustling and moving, which was one of the inspirations of the creator.
“This method of alternative medicine allows a qualitative analysis rather than quantitative, blood “, explains in English, in a telephone interview, the creator, who finds here the intimacy of the duo after a few compositions the wider, inter alia, for Cullberg Ballet. “We can then see how the blood moves, how it reacts. “An analysis to which Mr Van Dinther is delivered, and an experience that hit him,” by this feeling to dive literally to the inside of [his] body, while being the observer “.
It is from this very personal experience that has sprouted Dark Field Analysis. An impression he has sought to make it contagious. “The room has been thought so that the public can experience it also,” says the choreographer.
At the beginning, in this strange clinic, the viewer is visitor. The dancers, bare, exposed, in the centre, while the stands around them, arranged on the four sides. The object of our gaze-a scalpel, a centre of attention. “But the viewer will eventually traveling in her own body. It allows us to experience all points of view subjective. “With his collaborators to the light, the scenography and the sound of the last ten years — Minna Tikkainen, Cristina Nyffeler and David Kiers, and that Mr. Van Dinther consider them as co-choreographers in the same way as his interpreters, he then plays on perceptions. “The coordinates are dissolved, the spectators are in an unknown place. “
For everything and say nothing
Inspired also by the fact of falling in love again, but especially ” this very strong feeling of meeting, of encounter through the words, a materiality of the encounter, the real, even through sometimes about innocuous “. The text, the voice, the dialogue, here, contrary to the habits of creation, Mr Van Dinther, came even before the gesture, before the dance. If the choreographer had already dabbled in the use of words, he never had as much left worn by them. And with the voice came the necessary microphones-headsets for the two performers.
“We hear the least of their murmurs, the slightest breath, the slightest clumsiness. The device fact that these two humans seem to be completely exposed. “
The presence, on these beings, if not naked, micros has opened up in the wake of the idea of the body altered, prosthetics technology, the extension-machine, and even the inorganic. “This is one of the dancers that took a lot to work on these aspects. We listened to several films of science fiction, “science-fiction subtle”, such as Under the Skin [Michel Faber, with Scarlett Johansson] or Marjorie Premium [Michael Almereyda], where people can buy the holograms of loved ones who have died. We are fed of all these references, and we set out to play with them. “
“I thought I’d first do a piece where the movement is “accompanied”, in which it was incidental, in any way, says Van Dinther. But my work is usually very physical — and this piece is also gone, bringing with it, in this exploration of the synthetic, an animal side. “The movements are recognizable, familiar yet remain foreign,” says the one who likes to be rocked to the concept of “the uncanny”,” Unheimlich ” in German of Freud.
For a long time, the choreographer is interested in states of consciousness parallel, practically altered, such as those from meditation, drug use, sex. “My performance and seek to melt the boundaries of consciousness “, avance-t-il. The creator is also seeking a way to go deep, penetrate into the body, to go beyond — or inside. I am very concerned about the unknown territories, for these entries, by an individual, in regions which are not usual, both physically and psychologically, or emotionally. “
Jefta Van Dinther will begin his next creation, scheduled for march, 2019, in July, featuring four women, aged 40 to 60 years. “I’ve been to four choreographies with only men as interpreters. Here, I collect figures, mentors, guides artistic important to me over the past 20 years — and even one of my patronesses, and I’m curious to see what this meeting here, in this shape, going to give. “It is expected to touch on the question of the age, and much to the memory, puzzle piece important to the identity.
Dark Field Analysis
Choreography Jefta Van Dinther, with Juan Pablo Camara, and Roger Sala Reyner. Presented by the Festival TransAmériques, at the théâtre Prospero, from 25 to 27 may.